Where The Metal Ends

In reply to Jerry Hauppa.

Music that is popular is dead in general due to commoditization, poseurs, the ivory tower, and the music industry’s collapsed spurred by their own awful business practices and the CD bubble. CDs were a massive cash influx as the first digital format but the major labels kept the price artificially high, killed the single, and tried to force consumers to buy popular music albums with one to three catchy but disposable hits and the rest boring filler to outright crap. As soon as consumers could easily hear the hitsasany times as they wanted until they hated them without paying, they did.

For metal, most of the bands that stayed in the underground, that is those who couldn’t get any record deal and release anything back when the industry was still kicking in the 90s, weren’t good enough to even write three good tracks. Now, the fundergrounders hold these guys up and the labels that sign them to sell a few thousand copies like Dark Descent, Nuclear War Now!, and Iron Bonehead as actually as good as the metal bands from back in the day as they are stupid.

Anyone with a working brain who likes metal can tell that Horrendous, Bolzer, Intolitarian and Blood Incantation suck animal penis compared to Destruction, Deicide, Demigod, Dismember, you name it. The brain dead audience raised on commercial jingles, videogames, and cartoon theme songs can’t tell the difference as they never really listened to music and just claim to “like” metal as metal used to be underground and cool and they like the aesthetics and imagery like Kim Kardashian does. This makes them posers and the few underground bands actually making exceptional music like Sammath, Gridlink, and Desecresy are pretty much just ignored compared to everyone who is Terrorizer/In Flames for Retards as they can’t tell the difference between Celtic Frost and the Mortal Kombat the movie soundtrack.

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Sadistic Metal Reviews: Fargo of July

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Lars Ulrich Reveals Influences in List of His Favorite Metal & Rock Albums

Lars Ulrich revealed his fifteen favorite heavy metal and hard rock albums to Rolling Stone magazine as part of Rolling Stone’s list of their 100 favorite metal albums.

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Ihsahn: “What I do now is musically still black metal.”

Ihsahn is recording his upcoming solo album right now in Norway according to Blabbermouth. Furthermore Ihsahn believes that black metal is not a specific type of heavy metal music but rather a mind set and that the random progressive rock and jazzy instrumental masturbation Ihsahn performs now is still actually “black metal” despite not even being metal music to begin with, yet alone black metal.

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Celebrating The Spirit Of Heavy Metal

The path of heavy metal is a solitary one. Most people do not like the idea of it, hate the sound of it, and look down on those who like it. It is not simplistic and mindlessly obsessive like rock, nor fancy and high-falutin’ like jazz. It seems deliberately antisocial, disruptive, violent and dark.

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Metal Is Not Rock

There remains a massive confusion in mainstream media, society, and culture regarding metal as a truly separate genre of music.  The mainstream media and leftist-controlled academia regard metal merely as a subgenre of rock music, rather than its own distinct genre. This is of course absurd. If metal isn’t its own entirely separate genre of music then jazz, folk, country, and blues are all rock ‘n’ roll too as they can all be played with the same basic set of modern instruments. Since this topic is well-documented in Death Metal Underground’s extensive Heavy Metal FAQ, in this article I will merely layout some basic musical differences between the genres and provide a few appropriate examples to hammer it down into the brains of the ignorant.

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Metal-Archives’ Marxist Mania

Article contributed to Death Metal Underground by Richard Sullivan.

Western civilization is currently gripped in a culture war unlike any that preceded this one. You may ask what makes it so different than the others, considering the West witnessed a similar one of its kind back in the late 1950s with the emergence of the New Left. Arguably, there’s never been a real difference in the left’s rhetoric. For as long as anyone cares to remember, white, heterosexual, “cisgender” men, who maintain the “capitalistic, racialized, cisnormative patriarchy” have always been at the center of their ideological attacks. The only thing that has changed has been their ability to have said rhetoric heard beyond the confines of university lecture halls. It was rare to encounter an enlightened™ human™ bombarding you with vitriol and threats of violence – because you failed to recognize the intersectionality between race™, gender™, and sexuality™ – outside a gender studies class. Of course, these things still occur, but with greater frequency, and to the point where a flash mob of overweight, hipster beta males twerking in tutus in a school’s atrium is viewed as them just “expressing themselves”, but, more boldly, as an act of defiance against conventional norms of masculinity.

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